The first decades of the 20th century proved to be a time of colossal growth for Detroit. Michigan’s pioneering automobile industry meant that more and more millionaires placed great hope in the city’s continued growth. The Guardian Building, sometimes referred to as the ‘Cathedral of Finance’, was the embodiment of the residents’ efforts. Built just before the Great Depression, the art-deco skyscraper impresses with its unusual decorations alluding to the indigenous tribes of the Americas. The amazing colours of the interior show the power of the investors and the masterful hand of Detroit’s most important architect. Despite crises and the complete bankruptcy of the city, the Guardian Building still stands today as a reminder of Detroit’s former glory.
Spirit of the Midwest
In the 1920s, Detroit was growing into the third-largest city in the United States, and huge financial investments helped to reinforce the city’s dominance in the automotive market. Along with manufacturing, the financial and banking sectors also expanded, so the need for modern office buildings grew. Architect Wirt Clinton Rowland designed dozens of iconic schools and office buildings in Detroit during this time.
In the first three decades of the 20th century. Rowland worked for a number of architectural firms, but his most famous designs came out of Smith, Hinchman & Grylls. Interestingly, the prevailing art déco style of the time took a rather original form in Detroit. Rowland did not rely on New York steel, stone and references to European topoi. In his designs, the architect wanted to reference the wild spirit of the Midwest, i.e. the local vegetation, fauna and its original inhabitants.
For this reason, the Guardian Building, built in 1929, is filled with American Indian motifs. Rowland did not limit himself to North American tribes, and references to the Aztecs and Mayans dominate the building’s façade. The tribal motifs were intended to show the strength and stability of the owners, a fact that was tested rather quickly by the 1929 crisis. The building was designed for the Union Trust Company, which rented most of the offices in the building. The name, however, comes from the Union Guardian Trust Co. which was resurrected after the Great Depression.
Guardians of the vault
Located in the city centre, the Guardian Building rises to 151m, but with the spire this figure increases to 193m. The façade of the building can be divided into three sections. The lower part of the façade consists of sand-coloured granite lined with sculptures and reliefs of representatives of Native American tribes. The four powerful figures are actually ‘guardians’ holding keys and swords – symbols of strength and security. The style of the sculpture mimics the Aztec geometry of zigzags and squares. The author of the ‘guards’ is Corrado Parducci, an Italian-American sculptor who drew on many of the styles popular in the early 20th century. Interestingly, Parducci collaborated with Rowland on several other buildings in Detroit. For example, on the facade of the Penobscot Building, the sculptor created Indian plumes and a masquerade depicting Rowland himself.
Just as in the case of the earlier ‘Cathedral of Commerce’, the Woolworth Building, the architect wanted to invite customers into a Gothic cathedral, in the Guardian Building visitors enter an Aztec temple. For this reason, the entrance is protected by a half-dome with a zigzag archivolt. Inside the half-dome, the colourful mosaics breaking out of the sand-coloured stone are noticeable. Also worth noting is the central part of the façade, which has been inserted inside the block. The mandarin-coloured brick creeping up the façade has gained recognition in the USA, leading to its name being changed to ‘Guardian brick’. The orange façade is crowned by two asymmetrical towers with polychrome and terracotta decoration in the form of chevrons and geometric patterns.
Aztec temple
The Guardian Building’s true treasure awaits inside. The mighty lobby greets you with travertine walls, a marble reception counter and amazing ceiling colours. The mosaic attached to the cradle vault is one of Rowland’s finest works. What’s more, the tiles from the Detroit and Cincinnati manufactory were applied to the vault by more than 40 artists.
A similar jigsaw puzzle can also be seen on one of the walls, but this mosaic depicts a ponderosa pine, the state symbol of Michigan. Obviously, the tree is depicted in the Aztec style and its background is made of an intense blue mosaic. The tree is the work of Ezra Winter, a prominent painter who creates murals. This pine pattern adds further significance to the stepped arches visible next to the tree. In addition to the bright Aztec reference, the arches remind us of a state symbol. The coloured arches lead to lavish alcoves with lifts. At the end of each alcove are incredibly ornate stained glass windows depicting angels holding above their heads various virtues associated with Union Trust values. These are mainly about trust and security.
The representative lobby is crowned by a wrought-iron grating made of a copper-nickel alloy (monel). In the middle of the grating is a clock designed by the famous Tiffany glass studio from New York. Interestingly, the studio only created four such clocks. The same Tiffany glass can be admired on the monel lift doors and the lamps that light up the alcoves. In turn, grey monel covers many of the building’s doorknobs, handles and handrails.
Michigan goddess
An ornate grille separates the entrance from the colossal banking lobby. It is here that you can see the cathedral-like foundation of the building. The great nave passes through huge arches up to the “altar”, which is a mural depicting the state of Michigan. The décor is the familiar Aztec motif, but without excessive colour. Italian travertine and African marble give the “cathedral” a more solemn look, and the huge windows let a lot of light into the room. In addition to the Aztec arches, motifs familiar from North American Indian fabrics are noticeable. The orange, black, red and white shapes are reminiscent of the carpets of the Navajo tribe. It is also worth mentioning that there are geometric ventilation openings under the arches and diamond-shaped skylights on the ceiling.
Finally, the aforementioned ‘altar’ is Ezra Winter’s second work in the Guardian Building. The huge mural depicts various branches of Michigan’s economy, such as the automotive industry, timber industry, fishing, transportation, mining and others. These fields are connected by rays coming out of horns of plenty, held by a woman. The figure in the middle of the state map is reminiscent of the guardian or angel from the previous rooms. Previously, the architect wanted to emphasise security and trust in the company, but the banking lobby shows the source of all the virtues and prosperity of the entire state.
The amazing Aztec-Indian ornamentation makes the Guardian Building the most important work of respected architect Wirt C. Rowland. But above all, the skyscraper is one of the most spectacular buildings in the entire Midwest. The story of security, trust and prosperity is clear and dignifies the building’s assets. The brilliant colours and pre-Columbian forms are a feast for the eyes. Such beautiful interiors will amaze many an amateur of the art déco style. I have written about other works in this style HERE and HERE. It should also be added that Detroit’s prosperity came to an end just a few decades later and the city fell into disrepair. Yet the Guardian Building still stands unmolested today, quite as if protected by its ancient guardians.
Source: Guardian Building
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